Sentences with phrase «glass pavilion site»

Not exact matches

Graham's critical engagement manifests most alluringly in the glass and mirrored pavilions, which he has designed since the late 1970s and which have been realised in sites all over the world.

On the occasion of Berlin Art Week, Farmer will present two large - scale, site - specific installations — in the Pavillon's rotundas in the souterrain and in the glass pavilion on the first floor.

Engaging with the history and mission of The Arts Club itself, the two - part installation will bring together McElheny's film The Light Club of Vizcaya: A Women's Picture (2012) and a new site - specific installation titled The Club for Modern Fashions (2013), a constructed glass pavilion into which performers and guests are invited during the lunch hour, Tuesdays through Fridays, dressed in vintage attire from the 1920s to the 1970s — decades that signify the height of a modernist imperative across the cultures of fashion, design, and architecture.

Since the mid-1960s, Graham's practice has included essays, performances, videos, installations, and architectural / sculptural designs — most famously his glass pavilions — that are variously presented and constructed in relation to a particular site as well as for the gallery.

Attention - grabbing highlights include a site - specific work by Anselm Kiefer made from impossibly - high shards of glass and concrete housed in a pavilion on the river's edge, Christian Boltanski's The Life of C.B (the artist agreed to have his every move in his Paris studio live streamed, 24 hours a day, in the museum, until he dies), and Chris Ofili's The Holy Virgin Mary, which set off a famous firestorm when it was exhibited at the Brooklyn Museum in 1999.

Inspired to the sound produced by the Glass Armonica, a legendary instrument of the 18th century, famous for its intriguing and ethereal voice but banned because deemed «too - exciting», Rapture, the site - specific installation by Camille Norment, explores the relationship between body and sound, and transforms the pavilion itself into a sort of creature which experiences «raptures and ruptures» and «harmonies and dissonances».

Following the artist's critically acclaimed 2015 retrospective «Colors,» held at the Ullens Center for Contemporary Art (UCCA) in Beijing, this show presents highlights from the last 20 years of Liu Wei's diverse practice, which encompasses video, installation, and sculpture, as well as works on canvas and paper, in addition to Liu's latest site - specific installation, housed under the roof of PLATEAU's glass pavilion.